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<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Dear
all,<o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>One
of my current MA students, who has been teaching music theory through the RCM
for many years, is interested in examining which criteria are used to determine
how theorists prepare, present (the sequence of material), and test a
pedagogical approach for tonal harmony in recent music theory textbooks. She
would like to include this analysis in the context of Lois Choksy’s
theories of learning, in particular, the sequence of the following steps: (1) readiness
(or preparation); (2) procedure (moment of presentation/label/make conscious);
(3) reinforcement (practice); and (4) assessment (synthesis; take concept out
of original context and apply it to a new context while still understanding the
concept). <o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>She
is currently working through the following sources:<o:p></o:p></span></p>
<p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span
lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><span
style='mso-list:Ignore'>(1)<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN-US style='font-size:10.0pt;
font-family:"Arial","sans-serif"'>Michael R. Rogers, “Teaching Approaches
in Music Theory: An Overview of Pedagogical Philosophies” (1984).<o:p></o:p></span></p>
<p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span
lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><span
style='mso-list:Ignore'>(2)<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN-US style='font-size:10.0pt;
font-family:"Arial","sans-serif"'>David M. Thompson, “A History of
Harmonic Theory in the United States” (1980).<o:p></o:p></span></p>
<p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span
lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><span
style='mso-list:Ignore'>(3)<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN-US style='font-size:10.0pt;
font-family:"Arial","sans-serif"'>John D. White, “Guidelines for the
Teaching of Music Theory” (1981)<o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Would
anyone have suggestions on other sources that she should consult?<o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Also,
if you have written textbooks or course packs for tonal harmony, would any of
you be willing to correspond with her and answer specific questions on what
criteria influenced your decisions? <o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Please
respond privately.<o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Many
thanks in advance,<o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Roxane<o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>*************************************************</span><span
lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Roxane
Prevost, PhD</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Professeure
agrégée/Associate Professor</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>École
de musique/School of Music</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Université
d'Ottawa/University of Ottawa</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>103-50,
rue Université</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Ottawa,
ON K1N 6N5</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Tél.
: 613-562-5800, poste 3455</span><span lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Courriel
: </span><a href="mailto:Roxane.Prevost@uottawa.ca"><span lang=FR-CA
style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Roxane.Prevost@uottawa.ca</span></a><span
lang=FR-CA><o:p></o:p></span></p>
<p class=MsoNormal><span lang=FR-CA><o:p> </o:p></span></p>
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